This term signifies 'to move'.

The Sangitaratnakara outlines a clever method for illustrating the existence of Ṡrutīs, the intervals between them, the number of Ṡrutis each note contains, and the total number of Ṡrutis within an octave.

Using two chordophones or Vīṇās, each equipped with twenty-two strings tuned to the corresponding twenty-two Ṡrutīs, it is necessary to establish the correlation between the strings and the notes of the Kafi Thaat  or minor scale on both instruments.

For instance:

- On the two strings No. 4, there are two 'Sa' (do),
- On the strings No. 7, there are two 'Kings',
- On the strings No. 9, there are two 'ga' (E flat),
- On strings No. 13, there are two 'Ma' (fa),
- On strings No. 17, there are two 'Pa' (sol),
- On strings No. 20, there are two 'Dha' (la),
- On strings No. 22, there are two 'ni' (B flat).

After tuning the two instruments and indicating the reference notes, one of the Vīṇās must remain the 'unalterable' instrument, named Dhruva Vīṇā, while the other becomes the 'alterable' one, called Cala Vīṇā.

Subsequently, in the 'alterable' instrument, each string must be systematically lowered to align the intonation of each string with that of the corresponding string on the 'unalterable' instrument. This process is repeated to achieve precise alignment.

During this procedure, notes that initially had only two Ṡrutīs, such as 'Ga komal' (E flat) and 'Ni komal' (B flat), will correspond to the notes preceding them, such as 'Re' and 'Dha'.

By repeating the lowering action on the Cala Vīṇā strings, 'Re' and 'Dha,' each with three Ṡrutīs, will correspond to 'Sa' and 'Pa' on the 'unalterable' instrument.

Further lowering of the Cala Vīṇā strings will result in 'Sa,' 'Ma,' and 'Pa,' each with four Ṡrutīs, corresponding respectively to the 'Ni Komal' in the low register (not present in the Dhruva Vīṇā), 'Ga Komal,' and 'Ma' of the 'unalterable' instrument.

It is important to emphasize that the twenty-two strings represent the 22 microtones or frequency units, classified into three types of notes based on the number of Ṡrutīs: those with two Ṡrutīs ('Ga Komal' and 'Ni Komal'), those with three Ṡrutīs ('Re' and 'Dha'), and those with four Ṡrutīs each ('Sa,' 'Ma,' and 'Pa').

In summary, the demonstration illustrates that microtonal intervals manifest as identical frequency units. The precision in the observed correspondences reinforces the notion that these intervals share identical frequency units.